Working as a makeup trainee: listening answers and explanations
On a film-making podcast, makeup artist Claire Lemarre gives advice to people who want to start out as makeup trainees in the film industry. She covers low and big budget films, pressure on set, meeting stars, kits and portfolios, then describes four everyday duties.
Questions 11-16 come in order, one short paragraph each: low budget films, big budget films, pressure, famous actors, kits, portfolios. Then she says 'So what does a makeup trainee actually do?', which starts 17-20, again in order: prepping, continuity, general duties, applying makeup.
Answer key and self-check
Type what you wrote and hit mark. Hide the key first if you haven't done the part yet. Every question number jumps to its explanation.
How to attack this block: Each paragraph mentions ideas from more than one option, so listen for which one she recommends or confirms. Watch for 'don't expect', 'won't need' and 'whatever you do, don't': they usually rule an option out.
Question 11
Answer: ARight after she says you'll be working for free
What can trainees count on getting on low budget short films?
Make sure your transport costs are covered - and remember, there's very unlikely to be any catering provided, so bring plenty of food.
Question says → You hear
travel expensesyour transport costs are covered
Why: 'Make sure your transport costs are covered' tells you this is the one thing you should always get. Transport costs are travel expenses.
The trap: Meals (C) is tempting because food comes straight after, but catering is 'very unlikely', so you bring your own. A minimum wage (B) is ruled out by 'working for free'.
Question 12
Answer: BWhen she says 'If you're lucky, you might start out on a big budget film'
What experience might trainees get on big budget films?
you're likely to get the opportunity to work with a range of age groups, as well as different ethnicities
Question says → You hear
experience of working withthe opportunity to work with … different ethnicities
Why: 'Likely to get the opportunity' matches 'may get experience of', and different ethnicities is said word for word.
The trap: Hair styling (C) is a separate department, so 'you won't need to bring your curling tongs'. Special effects (A) is something not to expect, because it's highly specialised.
Question 13
Answer: AThe paragraph that starts 'One problem with working in the makeup department'
What problem do makeup artists face?
the top makeup artists are very professional - even when they're having to work with directors who are impatient, or unhappy with the makeup artist's work
Question says → You hear
dealing with difficult directorswork with directors who are impatient, or unhappy
Why: Impatient and unhappy directors are difficult directors, and the professionals still have to work with them.
The trap: The supervisor (B) is mentioned, but as someone whose lead you follow, not someone who shouts. Waiting around (C) is the opposite of what she says: there are 'very few times when you'll be bored or have nothing to do'.
Question 14
Answer: AWhen she says she's worked with many very famous actors
How did she feel the first time she met famous actors?
At first, I found it overwhelming and could hardly speak. I was so in awe.
Question says → You hear
very shycould hardly speak. I was so in awe
Why: Being overwhelmed and hardly able to speak is how a very shy person reacts. 'At first' matches 'for the first time'.
The trap: Disappointed (C) comes from the end of the paragraph, 'most actors don't look that special', but that's how she feels now, not at first. Nothing suggests she felt proud (B).
Question 15
Answer: AStart of the paragraph on makeup kits
What does she advise about makeup kits?
Every makeup trainee will need a makeup kit, which they'll be expected to have with them at all times. Just the essentials will do
Question says → You hear
Always carryhave with them at all times
a basic kitJust the essentials will do
Why: 'At all times' matches 'always', and 'just the essentials' is a basic kit.
The trap: C borrows 'other makeup artists', but she says look at their kits and don't borrow without asking, not ask them to check yours. 'Only the best products' (B) contradicts 'just the essentials'.
Question 16
Answer: CMiddle of the portfolio paragraph, after 'take photos of all the work you do'
What does she advise about building a portfolio?
But remember you'll need to get approval from the makeup designer in charge of the department.
Question says → You hear
Get permission to use photosget approval from the makeup designer
Why: Approval from the person in charge is permission. 'But remember' flags it as the key advice.
The trap: Print photos (A) is ruled out at the end: 'you won't need to get photos printed'. A small selection (B) clashes with 'take photos of all the work you do'.
Matching (A-C)
Questions 17-20
How to attack this block: Only three abilities for four duties, so one letter is used twice. None of the words (organised, flexible, quickly) is said directly: listen for paraphrases like 'without wasting any time' or 'kept in good order'.
Question 17
Answer: CFirst duty, after 'here are some of the things you might be required to do'
What ability does prepping an actor need?
sometimes you'll need to step in and get this done without wasting any time, otherwise the makeup artist will get behind schedule
Question says → You hear
working quicklyget this done without wasting any time
Why: 'Without wasting any time' and the risk of falling 'behind schedule' both point to working quickly, C.
The trap: Stepping in when needed can sound flexible (B), but the point she stresses is speed.
Question 18
Answer: AWhen she says trainees play a useful role in continuity
What ability does continuity work need?
take photos, log them digitally and print out a hard copy to put in each actor's file. This information needs to be kept in good order
Question says → You hear
being well-organisedneeds to be kept in good order
Why: Logging, filing and keeping information 'in good order' is what a well-organised person does, so A.
The trap: 'Months later' might make you think of time and speed (C), but it's about keeping records ready, not working fast.
Question 19
Answer: BThe short paragraph on teas, coffees and washing
What ability do general duties need?
Having a positive attitude and being willing to do whatever is asked of you will help you get your next film job.
Question says → You hear
being flexiblebeing willing to do whatever is asked of you
Why: Doing 'anything from getting the teas and coffees to putting on a wash' and 'whatever is asked of you' describes flexibility, B.
The trap: Positive attitude isn't an option, so don't let it pull you off. Nothing here is about speed or record-keeping.
Question 20
Answer: CLast duty, about extras rather than the principal cast
What ability does applying makeup to extras need?
If there are dozens of extras involved you'll need to keep up a swift pace and not spend too long on each person.
Question says → You hear
working quicklykeep up a swift pace and not spend too long on each person
Why: 'A swift pace' means working quickly, so C again. This is the letter that's used twice.
The trap: Confidence is mentioned last, but it isn't one of the abilities. Don't avoid C just because you've already used it for 17.
No one says flexible. 'Willing to do whatever is asked of you' is the paraphrase, and the long list of chores hides it.
Words from this recording worth keeping
low budget(Getting your first job)
made with very little money
catering(Low budget films)
food and drink provided for people at work or an event
high-pressure environment(Problems on set)
a workplace where people are always busy and stressed
in awe(Meeting famous actors)
feeling great respect mixed with nervousness
essentials(Makeup kits)
the most basic, necessary things
portfolio(Building a portfolio)
a collection of your work to show employers
continuity(Trainee duties)
keeping details the same from one scene or shoot to the next
swift pace(Trainee duties)
a fast speed of working
Sit this test on Langujet, then come back
The full Cambridge 21 Test 1 listening paper with the real audio: all four parts, played once, marked the moment you finish. Already done it? Take it again and listen for the traps this page showed you.
Cambridge IELTS 21, Test 1, Listening Part 2. The recording, transcript and questions belong to Cambridge University Press and are not reproduced here. We quote short extracts of the transcript only as evidence for our own commentary, and the answers are published for self-marking. Get the book for the full material, or sit the test on Langujet.
